Fried Barry’s shock tactics wear thin after a while and its stylistic cribbing leaves much to be desired, but it possesses enough ferocity and ambition…
While The Mitchells vs. the Machines doesn’t live up to obvious touchstone The Incredibles, it rides its own humorous and referential wavelength to mild success. While…
Things Heard and Seen might not thrill horror purists, but its terror-flecked study of domesticity and religion both recalls genre giants and remains mostly fresh.…
Without Remorse is a delicious throwback to a time when a sturdy shoot-em-up was its own reward. Streaming services have absolutely become a pipeline for…
The Disciple’s diptych structure creates a mature, nuanced portrait of the weight of personal and professional compromise. Sharad Nerulkar — the titular disciple in Chaitanya…
Stowaway suffers from a contrived script and poor character-building, but works considerably better when maximizing its budget in service of action spectacle. A three-person mission…
Boys from County Hell boasts a strong premise, but never entirely commits to either its horror or comedy elements. There’s a cairn out in a…
Red Moon Tide offers impressive sonic and visual craft, but is somewhat undermined by its weaker narrative and character elements. An elegiac stillness envelops the…
Ride or Die is overlong, fails to believably sell its central relationship, and ill-advisedly resolves with a bit male gaze exploitation. Whatever the many other…
The Banishing is a welcome-back for director Christopher Smith, rendering fresh what could have been boilerplate, and keeping its human horrors palpably textual. It’s curious that…
IWOW is a work of pure hubris and self-aggrandizement, entirely devoid of the humanity that has informed Allah’s previous works. Over the course of his career,…
Night in Paradise scans like any number of slow-burn gangster flicks, but suffers for lack of originality in both its action and drama. Park Hoon-jung’s…
Not all of the poetic evocations of Jessica Sarah Rinland’s Those That work, but it’s still a lively, playful, and niche document of art creation.…
Unlike Puiu’s similarly-shaped Sieranevada, Malmkrog is all empty abstraction, mistaking prattle for praxis. “For a talking cinema”: that’s the title that a young Maurice Scherer, not yet christened…
Thunder Force is yet another high-concept comedy collab between McCarthy and Falcone that fails at, well, being funny. On its surface, a film like Thunder…
The Power doesn’t hold a lot of mystery but thrives by situating its political and cultural critiques as blunt, horrific text. There’s something sinister lurking…
Mamade Claude isn’t much more than shallow period dress-up and empty provocation. Set, for the most part, in the final tumultuous years of the Swinging…
Concrete Cowboy features a pair of solid performances and a sleek visual design, but suffers under the weight of its paint-by-numbers approach to narrative. Set…
WeWork is somewhat limited in focus and doesn’t always plumb deeply, but remains an intermittently fascinating portrait of a conman and his grift. When applying…
Bad Trip fulfills its minimum obligation to produce a baseline number of laughs, and does very little else. Bad Trip is yet another casualty of…